Last number before addition. Five boys, broad legged in silver pants, glitter vests and sweat perlenketten. Between faux fur epaulettes shine naked, smooth shaved torsos, and German Theatre in Munich steams and shrieks like a kettle. Arrived at singing final of Thomas Bands Forever Musical, The Chippendales mood reigns. Here, in front of flickering cell phone cameras, no less occurs than rebirth of band from spirit of strip karaoke.
Everything had started so quietly. Instead of a classical musical that could have told about rise and fall of a band, “baloney comedy club” inventor Thomas Bemannos staged evening as a number revue. In front of a video screen, about somewhat unlovingly arranged photos from Ronan Keating to Robbie Williams flickering, presenter Ole Lehmann explains winking, which makes a band so. This covers a gecastete parade of Take That, Backstreet Boys or East 17.
your buddy, superstar The British singer Ed Sheeran conquers world with his new album “Divide”. and makes it clear: a superstar of pop doesn’t have to be a hero anymore. by Jan Kedves more…
This concept is best approached at beginning, when Lehmann introduces his five boys according to a universal typology that is appropriate for all bands. There is type son-in-law, sporty with rap parts, bad ace with many affairs, bi-sexual, who is actually gay and ” fifth”, which is mainly from choreography-geometric aspects and whose name nobody knows. When quintet performs first songs, it shows how well se stencils fit. At same time, live context reveals enormous physical and vocal performances that se often smiled retort artists perform.
It is this contrast that predestined phenomenon of band for zeitgeist of early nineties, when artificiality, sportsmanship and hedonism collided in highest possible degree. The stereotypical protagonists of bands were ideal projection surfaces for Biedermeier promiscuous, American double standards and ir performance thinking. In front of an open Iron Curtain, guys group was so made for permanent Party of a capitalist fun society. At “Bands Forever” This party is naturally not questioned, but in a different direction reinterpreted. Tie-in games at pole pole, lascivious shower scenes, same-sex romances between singers. Sure, Gay was always an important topic in boy hype. At “Bands Forever”, however, it becomes omnipresent leitmotif and on stage with all sorts of Huchs and Hachs and “are not to bite” celebrated. Moderator and singer pinch in butt, shack buzzes. But when two men almost kiss each or in a scene, it is dimmed-it is better to stay in pink twilight.
if (typeof AdController !== ‘undefined’) { AdController.render(‘iqadtile4’); } if (typeof window.performance === ‘object’ && typeof window.performance.mark === ‘function’) { window.performance.mark(‘monitor_iqadtile4_render’); } if (typeof SDE.init.initIQAdTile !== ‘undefined’) { SDE.init.initIQAdTile(‘full’, ‘iqadtile4’, false); }
And here weakens show. Unlike recent comedy “Popstar” by Andy Samberg, this revue never really takes phenomenon of band seriously. Shadow pages such as interchangeability of artists, some of m tragic biographies of drug addiction and embarrassing comeback attempts disappear behind a balmy transfiguration of se boys, who were so sweet, naïve and crisp.
In this retro bliss The second part of show Revels, where finally big hits like “Back For good” and “everybody” Come; actually timeless Pophymnen. The boys dance clos off and soul out of body, at end re is ironic-jovial climate of bachelor or gay parties.
At premiere, it comes as a surprise: an appearance of caught in act. Three of Jungsalter men in white jackets and black shirts, among which one or or tummy are distinguished. The most auntic moment of evening.
“The American Dream seems more and more like a figment of brain,” Brandon Flowers, frontman of band The killers, doubts. In itself, at USA and at stadium rock. A conversation about Sham and his. And about great Illusion America. Interview by Julian Dörr more…
